​While student file in, give them something to get them focused immediately. Something that will allow you a moment to count heads, do attendance, and maybe prep for the lesson of the day. Once they get in the habbit of a daily task, the rest of the period goes well!

I'll include some links within the list where you can find specific examples you can use for free, and end with some resources you can purchase for your classroom library if you like.

​It is important that art education extends beyond the walls of our rooms. This can happen via field trips, participation in local art events, gallery open houses, or First Friday gallery walks, etc. These assignments can take place during the school day as in a field trip, but could also be done after school with a student and their family.

To get students to buy-into using their own time for art enrichment will require a little creativity. In my case I offer extra credit for those who go. (10 points added to any test, project, assignment, but not benchmarks) I do teach in a city that happens to have a lot of galleries and art events on a monthly basis, so I could make it mandatory that my advanced students visit one art event per semester and bring documentation of their visit. If they take photos and create a Google slide show, it could even become a "show-and-tell" enrichment moment to open or close a class.

I have created 2 forms you are welcome to download and use for either scenario: Museum Visit or Gallery/Art Event. Both require students to do some writing and reflection as documentation of their participation. When they use a worksheet, I find it really helps them to focus.

Please browse my blog for other free resources and ideas for your classroom, or if you'd like some resources you can keep, copy, and use with your classes, please visit Firehouse Publications at www.FirehousePublications.com.

​This exploration was inspired by my need to do grid drawings with an Art 1 class, and something a bit more challenging with my Art 2s. I have always thought it would be interesting to try and emulate Chuck Close’s technique, but I also knew what he does effortlessly comes with years of experience. (For teachers with younger students, read on for a simplified option idea for grades 4 through 8 or so.)

When examining Chuck’s work a few general things seem consistent:

Grids need to be a bit tight (more squares)

Cool colors are used in the backgrounds

Warm colors are used in the face

Neutral colors for hair and clothing

Fragment of self portrait by Chuck Close

​I also require my students to bring in an image they are connected to: Family Member, Best Friend, or Themselves. If they choose a celebrity, I let them know it will have a slightly negative impact on their grade because a personal connection to your subject is addressed within the rubric. Liking someone is different than knowing someone. However, if a teacher wanted students to pick heroes or historical figures, it might make a nice cross-curricular tie-in.

We worked with 18 x 24 in. canvas board and a photo, slid into a plastic sleeve, that had a 10 x 14 square grid on it. After doing a little math, we found that the grid on the canvas should measure about 4.5 cm for each square or a tad smaller. Those who could, measured with rulers. Those who struggled (504/IEP) were given a strip of thick paper that wide to trace and create their larger grid.

Transferring the image was straight forward except we focused on contours of the hair, face, and clothing. We ignored small details like fly-away hairs, and we did not draw facial features like the eyes, nose, and mouth because they would need to be redrawn later anyway. ​

For painting, I had students pair up to share colors. This would help conserve paint and avoid waste. Students created mixtures for 2 warm colors and 2 cool colors in small cups with lids. By pairing each warm with a cool color, neutral mixtures were made. This meant that each pair of students had 6 small cups of paint; about 2 or 3 ounces of each color.

​When the face was complete, that’s when students went back to draw in facial features. They understood that the technique would mean that small details would be lost, so they did not need to worry about the transfer being exact.

​​When painting, we worked with the background first, hair and clothing next. The face was always last because that required the most attention to detail. By doing the background and hair first, it gave us some experience before moving onto the face.

​Starting with that background, we mixed each cool color with a tint, shade, and tone giving us 6 colors to work with plus the unmixed cool colors for a total of 8 options. We tried to look at each square as having 3 levels or parts: center, ring, and frame. Working fairly randomly with these colors we painted in each square for an even yet random area of color. When done with the first pass, I told students to squint and look again. If a square stood out as too light in value, they were to add a dark value color. If a square was too dark, to add in a lighter value color.

I really kept at them to USE the vocabulary we had been learning so it would become second nature. With this project, these words now have meaning as they had to apply what once may have just been a concept.

Some students chose to “play” with patterns in the background. I saw dollar signs in one, African Kente patterns in another. This was another option that added a layer of personal connection to the work and was praised.

​For those who teach younger students, there was something compelling and interesting about the portraits at this stage. I could see them as complete and perhaps tied to pop art. So if the Chuck Close surface treatment may be too much for your students, why not stop here and play with cultural patterns in the background? These might even translate well into mural size images of people, something I may try next year.

​Click on images below to see them more large.

​Similarly to the background, we created our 6 colors for the hair, using our two neutral colors and adding tints, tones, and shades. (Plus 2 more if you count the unmixed colors) This time however, we paid attention to the direction of the hair and tried to add paint in a way that emulated or enhanced that texture. Clothing too was handled this way, paying attention to fabric folds. Students were able to ignore patterns in the clothing if it made the area too challenging.

​The face was the most challenging are and required several layers of paint and a different pallet of colors. Students needed both black and white, plus the tints, tones, and shade we had before, but we added 2 more very light tints that were mostly white for highlights on the flesh. The first painting pass was to give all the squares a basic treatment that emulated the value of the square (it’s lightness or darkness as compared to other squares).

It was important to balance the need to stay within the squares and the need to incorporate angles that would show off the features. In my Dali’ example, most of the squares are whole, but where the moustache crosses, I did break the square format, but tried to keep brushwork contained within the square. I alternated colors when I crossed a line to maintain the square continuity.

When this first pass was done, I asked students to squint at their work, to note squares that might be too dark or too light. Then we modulated that value by adding a lighter or darker value to fix the issue. A third pass was often necessary to “tune” the value correctly based on the gridded photograph. I even had to add highlight in the facial hair so it would stand out against the background. I initially wanted to have a hidden eye in the background but felt it was a bit distracting so I removed it from my final version.

Here are some done by my students.

Below are some videos that I shared with students during our lesson.

​This project is very challenging and should not be done by students who are new to grid portraits, or painting. My simplified version mentioned above though, would be easy enough for middle school students.

The ideas of value are tough to explain, identify, quantify, and execute. Some students struggled to work within the constraints of a grid and others flourished. Everyone had to “step up their game,” improved their understanding of these color theory concepts, and gain an appreciation of the artwork of Chuck Close and the masters that preceded him.

Given a cigar box (or any box really) students designed the outside to represent how they are perceived by others, and the inside represented how they know themselves to be. They were encouraged to work symbolically and to incorporate found objects and small items from home to embellish their work.

We begin every art exploration with some writing. In this case it was the creation of two lists. One describing how others perceive us to be (including potential prejudices) and another list of things we know to be true about ourselves. The latter being things maybe only best friends and family know, or even secrets. To preserve personal privacy, I let students know they could write in code so even I might not know what symbols mean but they should be honest with themselves in their lists so work would have more depth.

When lists were complete, I shared what our exploration would be. They chose boxes from those I found in my classroom, but homework could have been to bring in a small box. These were then sketched from several angles and included symbols and items they could decorate their box with. My students were encouraged to bring inexpensive items from home that carried personal meaning, but I had many items available in my room:

​When sketches were complete, students sought out 2 opinions about their ideas from peers before working on actual boxes. They were also expected to get my initials on their sketch as final approval. If I saw anything that might be unrealistic or inappropriate, I could address it and offer some alternate ideas before students dove into supplies.

As they worked, I went around asking about their symbols, offering additional suggestions, feedback, or praise. One thing we found important was to have several gluing options. Elmer’s was not always the best choice, so I had glue sticks, spray adhesive, tape, and hot glue available. When projects seemed to be about 50% or more done, we took some time to share our work with 2 peers and get additional suggestions/feedback. This helped some re-focus, share tips that worked for them, and get helpful feedback before finishing work.

As you can see, work was highly personal, individualized, yet all fell under the same overall guidelines. By tying outcomes to students experiences, point of view, and personality, diversity is assured.

If these kind of art explorations interest you, consider exploring this blog a bit more or using the links to the right for my published resources you can keep and copy for yourself.

As I begin in a new school, in a new state, I felt I wanted to begin with a lesson that would allow students to introduce themselves to me and to each other. We wrote about 4 pieces of music; current favorite, something others would be shocked you liked, a song that makes you sad, and another that brings you joy or hope. The worksheet I created is this PDF file below.

I modeled my interpretations of music so they understood how deeply I wanted them to dig. For my sad song (The Band Perry - If I Die Young) I shared how it reminded me of a student I mentored who committed suicide a couple years after high school. I even teared up a little bit.

For the song that brought me joy, I picked Three Little Birds by Bob Marley. I shared that if I am feeling down, that song gives me hope. With every example I played a bit of each song so they could hear what I meant.

I let them know it was okay to go as deep or as shallow as they were comfortable, as they selected and wrote about their songs.

When the writing was done, I went around and each student shared the contemporary song they liked right now and just one of the three other selections. This helped people get to know each other, and there were songs I even looked up later to add to my classroom playlist.

When sharing was complete, students reviewed their 4 songs and picked the one they felt would have the most vivid imagery to use as an illustration. They looked up some of the lyrics and sketched on the back of their worksheets. As they worked I gave them one requirement: The lyrics or words must be integrated into the image. They could not be in a box off to the side, but had to be within the drawing in a creative way. They did not have to be all the lyrics, a small selection would be acceptable, but integration was key. (Problem solving)

When sketches were about half way done, I had students stop and get 2 opinions on their idea. They had to explain their visual choices and get some feedback or suggestions for improvement. Then the person who gave feedback initialed the sketch to show they followed through. Advice could be ignored, but often good ideas made their way into the sketches.

I stopped everyone to give a demo about my coloring expectations as sketches were nearing completion. I showed how to layer colors for a sense of richness, and to use smaller pencil strokes so work did not look scribbled. I kept it simple, but let them know this was something I was going to look for when I graded their work, along with the integration of text.

This was a really great first project. The results were diverse, personal, and helped me understand their personal interests. They also learned that I require a bit of writing before they work to get their ideas organized, but also because writing is an important skill in the school that should be honed in every class.

We began this unit with a little research. Students find hunger facts; World Hunger, US Hunger, or Local Hunger facts. These are used for our project placemats. Some are below.

Next we explore continuous line drawings like THESE, and create our own drawing the foods we like best. I encourage the meals to be balanced with all food groups, but require enough for it to feel like a complete meal that includes a beverage and utensils appropriate to the food.

These become the basis for our wire sculptures. We spend 2 or three days exploring wire with pliers. The first day I have them make a food item on their own. The next we make a cube, and the following day a sphere. These latter two are turned into food items so they can understand what I mean by working in 3D. If not, the projects tend to be very flat like drawings. This is the video I use with them as an introduction. I have another version HERE, a bit more generic for wire.

Students create a placemat on an 11 x 17 inch piece of thick paper. This is where they put their hunger fact, so that when the work is displayed, it is also a learning opportunity for those who see the work. It's great if you can pair this with Thanksgiving food drives.

To me, the wire food is like a "ghost" of the food that should be there. It allows you to read the fact, but also enhances the visual message.

As we work, students use 527 Glue (A modeling cement) to hold finished pieces onto their final paper. I have two kinds of wire available, both from Nasco HERE and HERE.

Because each student finds a unique hunger fact, and creates food they personally like, each project is unique and shows the choices they have made along the way.

The Animals of Critter Creek Hollow series consists of numerous children's stories addressing many of life's challenges with specific focus on living with special needs. The stories involve different animal families resident to an imaginary community known as Critter Creek Hollow.

Art teachers from schools across the country are participating, offering their students an opportunity to provide unique illustrations using each students interpretation of individual scenes within the stories. Presently, the students are providing art for the first story in the series, "The Scurrys." In this tale, Chippy, an energetic adolescent chipmunk experiences the accidental loss of his eyesight and must learn to adapt as he faces and overcomes a number of challenges. Further stories to come include: "The Hoppers" (a rabbit family), "The Woodsworths" (a beaver family) and "The Clawsens" (a bear family), with more in the works.If you are an art educator and would like to be involved in this project, please connect with us via our contact link at: www.crittercreekhollow.com

​All participants receive a project packet via email that includes project materials and instructions. We are accepting illustrations from 2nd through 8th grades. Each book project is approximately 1 to 2 years in the making, allowing plenty of time to adjust your curriculum. We are currently accepting illustrations for "The Scurrys" for school year 2018-2019. Illustrations are chosen based on a combination of factors including but not limited to: Scene interpretation, creativity, style, media, etc.

Upon completion of the first book in the series, a crowd-funding project will be launched to generate publication proceeds. On behalf of all the students participation, 20% of net sales revenue will be donated to charities that benefit children. More information will be available via the website as funds are donated.

About the Author: Matthew August, 29 and a recent first time father, lives and works from his home in northern Michigan. The idea for the Critter Creek Hollow series came to him whilst reflecting on experiences with a childhood friend with special needs. Many children were unable to empathize with a child that had a disability and would often tease or belittle. Matthew was inspired to utilize his creative talent to develop a narrative addressing this perceived gap in understanding and educate children via a unique and collaborative medium. What better way to involve children in this process than to provide the opportunity to personally illustrate the stories themselves.

​In southern Mexico there is a city that is swarming with art. Alebrijes, carving, weaving, pottery, metalwork, leather, and much more are created in this compact area and shipped to ports and galleries around the world. Alebrijes in particular has become a staple art exploration in schools all over the world. First created by Pedro Linares with paper mache, later by others in carved wood, and now in popular culture in the movie Coco by Disney. (I use plaster mache with my students because it dries quickly and can be painted readily.)

​As with all forms of art and craft, many examples are not much more than tourist-trap-gifts, but there are some who take the art to its highest levels like in the alebrijes workshops of Jacobo and María or Efraín Fuentes and Silvia Gómez of San Martín Tilcajete. Their work cannot be fully appreciated online but should be seen in person to be understood. These two families help train local residents in the artform from selecting the right copal trees (bursera glabrifolia) to carving, filling, treating, coating, coloring, and painting.

​The same is true of the unique black on black pottery of ancient indigenous people, rediscovered and revived by Doña Rosa of San Bartolo Coyotepec, and continued by her grandson as well as Fabián Canseco who works with Mexican Antiquities Authorities. Fabián has a small museum in his studio of works he has found and collected in the nearby hills once occupied by indigenous peoples. These ancient works inform his creation of modern black on black ceramics.

​Weaving too can be utilitarian and overlooked, but the masters of the art shine in the village of Teotitlan del Valle. The Isaac Vasquez Studio takes traditional weaving very seriously with all natural dyes and hand spun wool. Fidel Cruz Lazo combines tight crisp traditional weaving with macramé edges for a truly awesome finish. Then there are others like Isaac Armando Martínez Lazo with his father or Alberto Sánchez Martínez who take the traditional weaving of the Oaxaca valley and combine it with visual motifs that would remind one of a fine art painting. Their work goes beyond the craft and become expressive works of art.

​Each village around the city of Oaxaca specializes in one or two specific crafts. It is quite likely that if a Mexican rug, weaving, ceramic piece, or carving caught your eye in some little shop along the border or in Santa Fe New Mexico, it may have come from the Oaxaca region. As art teachers, we know it is valuable to see works of art in books, online resources, videos, etc., but we know too that the value of a visit to a great museum cannot be understated. Seeing the brushstrokes on an original van Gogh, the vivid colors of a Monet, the subtle translucence of a Rembrandt painting cannot be appreciated without seeing the work in person. The same is true of crafts made by the living masters of Oaxaca.

By no means is this a complete list of what is available in the Oaxaca area. There is so much more. I am reminded by a reader that Oaxaca has a thriving printmaking history. You can often see paper printed images posted on buildings and walls like artful graffiti. Masters of printing sell their work throughout the city of Oaxaca and are well worth your attention. The machete is a common theme in prints as an agricultural implement, but also a symbol of the common people (farmers) rising up when they must.

​Before you raise an eyebrow because you have heard, "Mexico is not a very safe place to travel," the issues they face are far less that we see in the United States, and Oaxaca is nowhere near areas with issues. At no moment during my visit did I ever feel less than welcome and safe. Anyone who travels outside the United States should check where issues may be, but I can assure you Oaxaca is safe and welcoming.

If you plan on visiting, I'd recommend the use of a guide outside the city. I used the services of a local taxi guide, Jose'. His family has worked with the crafters all around Oaxaca for generations. His website is Oaxaca4U.weebly.com. Most hotel-tours of the area will focus on particular studios that have paid a fee to be put on a certain tour, but Jose' takes you to whomever you want to see and can suggest some of the best artists who are often overlooked by crowded tours. Whatever you do, at some point in your career as an art educator, I highly recommend a visit to Oaxaca to reinvigorate your artistic spirit. A lot can be done in a week, and even more within two.

I am going to expand this blog post with additional information you may find helpful should you decide that you'd like to visit Oaxaca and/or Mexico City. If you have no intension of ever visiting, you have reached the end of the pertinent portions of the blog post for you.

(FYI: I built Jose's website as a gift to his lovely family after they took us to breakfast at a local eatery. Jose really took his time to show this art teacher the "real Oaxaca." It was my "thank you" gift.)

​Should you decide to go to Oaxaca, download Dualingo to your phone and set it to practice Spanish 5 minutes a day or more for the months and weeks leading up to your trip. It was very helpful, but many people do speak English in Oaxaca. Google Translate has an app too that was VERY helpful. It can even translate text on signs and menus through your cell phone camera. And speaking of Menus, Oaxaca is considered to have the best food in all of Mexico!

​As you pack, remember Oaxaca is not "Florida hot." It averages 70 to 90 degrees all year, and in the summer it rains most evenings. It is a conservative country so almost no one wears shorts, so bring comfortable light pants, jeans, or light dresses to fit in. Shorts may be fine for excursions, but you may feel out of place. About a week or two before you visit, go to your local bank and ask them to provide you with some Pesos. Most US banks will for a very small fee, far less than at the Airport Exchanges. $500 USD is a good amount to convert. Check the rates, but it's far better to come with pesos than try to exchange them later. Most banks will have partner banks in Mexico so you can get cash without fees. Tell your credit card companies the dates you will be traveling.

​Pack passports, keep photo copies in your luggage, antibiotic ointment, medicines in their original containers, and a hat. Sunscreen is readily available in Oaxaca and can't be brought through TSA, but you will need it. Never come with new shoes, but bring what's most comfortable and broken in, you'll be walking a lot. When you enter, customs will give you a special entry card. DO NOT LOSE IT. You'll need it for a smooth exit.

If your phone company won't let you roam in Mexico, consider buying a sim chip at any number of local shops and swap it out for the week. For about $8 USD you can have 15 days of limitless calls, GPS, and internet. Weirdly, many cell phone stores are located within shoe stores. One was across the street from our hotel.

Tipping is customary in Mexico in the same places you'd do so in the USA. They tip a bit less though, 10-15%. When shopping in markets or outdoors, don't be afraid to bargain, particularly if you're buying more than one item.

Oaxaca is a bit unusual as Mexican Cities go. It has a small town feel with a very festive atmosphere. When you arrive at the airport, take a group van (Colectivo) from the airport to your hotel. There's no Uber in Oaxaca due to strong taxi unions. When you settle in, get a large jug of water at any local shop like Oxxo because you cannot drink the tap water nor brush your teeth with it. Most hotels will provide some free bottled water, but it's not enough. Thankfully purified water is cheap.

Getting around the city is a breeze! Most everything is super walkable, but when you use a yellow taxi, agree on a price before you go anywhere, likely between 40 and 70 pesos if your destination is within the city but too far to walk. If you want to go further, consider contacting Oaxaca4U.weebly.com .

​Don't be afraid of street food. A long line and hot items are well worth the wait! When getting drinks with ice, see if the cubes are actually cylinders, if so, then it is purified ice. If not, ask. Avoid items that may have been washed in or made with tap water. (Avoid shaved ice no matter how delicious it looks!) Pealed fruit is generally safe. We used our big jug of water to wash all our fruits before eating them. Boiled water is perfectly okay too so dig into soups and hot beverages. Do try local coffee. It's grown within the state and has chocolaty notes with a hint of cinnamon. Hot chocolate with milk is also pretty awesome and nothing like Hershey's! Explore, eat, and if you do get ill, azithromycin will nip it in the bud and you do not need a prescription to get it at any pharmacy.

​There is always something happening in Oaxaca. I witnessed no less than 3 festivals in our 6 days. We stayed downtown at Hotel Parador San Miguel Oaxaca. They offer A/C and everything was a short walk away. The hotel itself is super charming with good wifi. Oaxaca does offer many popular B&Bs as well as places listed on AirBnB, but we were very happy with our hotel at under $85 per night.

A guide to the surrounding villages and sights of Oaxaca can be very helpful and save you a lot of time. Most rental cars do not come with GPS, and addresses do not really make sense. There are many unmarked speed bumps throughout the city and you will ruin your car rental if you miss just one! Building numbers do not always go in order and oddly enough, in small towns, can change fairly frequently. A local guide can figure out the right address and keep you safe the whole time.

​As for shopping, Oaxaca city will offer many boutique shops, and the higher quality work will cost more. Some alebrijes or black pottery can be bought for a few dollars, but the good stuff can set you back a few hundred. Why shop at boutique stores when you can visit the studio of the artist, learn about their techniques, symbols, history, and methods? As an art teacher, I learned a lot I can apply in my classroom! We bought some very special pieces for ourselves and some less expensive, but nice works for friends and family. It was great to support local artists and see the variety of what is available. Look close at items, quality shines. Tight designs, with high levels of detail are a sure sign of great craftsmanship. Loose and bold work may be the mark of a child in a trade school still learning the craft. There's nothing wrong with that, but know what you're getting. When you visit a studio, you'll know how it all works and learn a lot along the way!

​Culturally and historically there is more to see than just the arts and crafts. Downtown has the amazing Church of Santa Domingo with a wonderful museum attached. Behind the church is a magnificent botanical garden full of native south Mexican plants. Within short drives you can visit the Oaxacan Pyramids of Monte Alban, or the cliffs of Hierve el Agua, a set of natural rock formations called the petrified waterfalls, where you can even take a cliff-side swim!

After shopping, touring, and falling in love with Oaxaca, you'll need to get all that stuff home again. We put all of our delicate purchases into our carry-on bags, and put most of the laundry into our checked baggage. Everything was safe and sound when we returned home. It's worth it to actually pay for additional checked luggage because shipping can be so expensive and unpredictable, but there is a UPS location in the center of Oaxaca if you need it.

Obviously a week is nowhere near long enough to be an expert on Oaxaca, nor is it enough time to see all the crafts and artisans of the area. THIS webpage will offer a more detailed list of what one could see and the variety of crafts created in this unique valley.

​My last recommendation is for breakfast/brunch. Boulenc is an AMAZING bakery in the center of town. Their address is Calle Porfirio Díaz 207, Centro, 68000 Oaxaca. They open at 8:30 am and I have never in my life has such good fresh pastries! They serve wonderful dishes in their restaurant for breakfast and lunch, but step into the bakery and eat a bit of heaven. You can generally trust Google online reviews for restaurants in the city, there are many awesome places to eat, but Boulenc is something special for sure!

If you do go to Oaxaca, and use Jose' as your guide, please mention that you heard about him through this blog post and do tell him you are an art teacher. This way he can design a unique experience for you that will be far better than any hotel group tour.

Some may want to extend their plans with a few days in Mexico City (I did) to see the Museums and sites there. I can highly recommend visits to the following places: the Teotihuacan Pyramid grounds, Our Lady of Guadalupe, the Museo Antropologia (top 10 in the world), Palacio de Bellas Artes, the Frida Kahlo Museum, and many more. Keep in mind most museums are closed on Mondays, but your teacher's photo I.D. can get you in free! Uber is the best way to get around the city. We used a local guide Aaron Cruz to see the Pyramids and Our Lady of Guadalupe. His number in Mexico is 52-551-1088-8421. He is best reached by text and picked us up from our hotel. I used his service as he was highly recommended!

FYI:
I am considering leading a tour group to the city of Oaxaca for another visit in the Summer of 2019, the week of June 22 to 29 (Saturday to Saturday.) Dates may change should I have too many show days in NJ and my school year is extended. You would find your own way to the Oaxaca Mexico Airport, but the following would be included: hotel, daily pastry/coffee/beverage breakfast, 3 guided tours out of the city to see artist studios, 1 tour to see the Pyramids (guided) and cliffs, local lunch (4x) on tour days, and transport from the hotel to the airport on the last day, all with a knowledgeable driver. The estimated cost, without airfare, would be $1300 for a private room, or $1000 with a shared room. (Not including tips, alcohol, or personal purchases.) If you have an interest, please email me with the subject "Oaxaca Trip Info Please" to LOVSART (at) Gmail (dot) com.

We all hate to toss old brushes and we've all seen the Pinterest posts of jewelry and crafts made from old brushes, but here's another option, particularly for the larger brushes. These are some I save up over the years, and to be honest, many were still fine, but I've been itching to do this project for a while now with my 7 to 12 year olds.

This project can still be done with new brushes you can easily find at the Dollar Store. I get my budget brushes through Nasco, and with their 20% off code, it's less than the Dollar Store.

I have students choose a brush and trace it onto sketch paper. Then we talk about all the possibilities. Having some sketches on hand may be helpful based on your own personality as the teacher.

1. You as a future artist, paint splotches and all.2. A paintbrush muse to inspire your creative spirit.3. Create a paintbrush portrait of a famous artist.4. A monster to blame for when your art doesn't go as planned.

Each lends itself to additional connections. Careers in art, Greek & Roman mythology, art history connections, or just silliness, respectively.

The nice thing about this little project is that there are many different media you can use for the 3D effect: Sculpt-it, Model Magic, Salt Dough, Air-Dry Clays, Paper Mache Pulp, Plaster, Acrylic Modeling Paste, etc. (We even used Wonder Bread kneaded with white glue as a base!) Each student had about enough to fill a 4 oz paint cup and it turned out to often be too much. So this exploration will use up all your material.

Paint it up with whatever you have as well. Add little bobbles and trinkets if you have any handy. When appropriate, some even gave their brush a bit of a haircut!

This was a lot of fun, and I may incorporate more recycling in the next go-round.

​I have been thinking about this project for a few years now, but have not found a good way to incorporate paintings with texture in a large class until I found Nasco's Acrylic Model Paste (No commission paid to mention their product, I just like it.)

Paint with a heavy body is too expensive to buy for a whole class. I tried mixing paints with plaster which was too brittle. Flour was bad, and colors with both were far too pastel. Then I thought, "why not paint with texture first, then paint over that?!" It seemed to work, and I was able to really focus on texture as an art element. We used brushes to apply the acrylic paste dispensed on paper plates. I cut popsicle sticks to a wedge point on one end to use as a pseudo-pallet knife. I worried that the kids would use too much paste and I might not have enough, but most used a tablespoon or two on our 6 x 8 in. canvases.

I have a collection of images for students to choose from and our motivation was to pick an image that would be the beautiful view you'd like out of your vacation home window. This way they had a broad choice. I could also see having students look up landscapes or landmarks from their own cultural backgrounds, researched and printed out as references. Whatever they use, there should be a way to make a personal tie-in so that all have a reference that means something to each individual rather than forcing them to paint what you have chosen for them. This could also work as a plein air impressionism project should you be able to take your class outdoors.

​The acrylic paste dried faster than expected and students were able to add color the next day. I use foil over heavy duty paper plates as pallets and sorted students by color choices. All the sunset themed painters sat at one group (Reds, oranges, yellows, black), beach scenes at another (Browns, blues, and aquas), jungle and forest at a third (Browns, greens, yellows, & blues). This way they could share pallets of colors and we had little waste. At the end of each session, I coverd pallets with kitchen plastic wrap to stay fresh daily.

The examples below were by students ranging in age of 7 through 16 at my summer art camp program. This will definitely be something I will do in my school classroom this coming year.

FYI: I will be taking a much deserved vacation, and will be gone from this site until late August. If you have enjoyed my posts and would like more in-depth resources, feel free to browse the links to my posters and books to the right of this webpage. If you have an Amazon account, all my books are there too. I hope to have some more amazing stuff to share soon based on my upcoming adventure to Oaxaca and other locations.

​WELCOME:

Please Note:

If you get nothing else from my blog THIS POST is the one I hope everyone reads.

THIS POST spells out my approach, and THIS POST explains how I create "Choice-Based" lessons that connect to core content.THIS POST explains how you can plan projects that assure individual expression.​Teachers on Facebook,can chat with me HERE.(Please answer 3 questions to enter)